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''Aida'' (or ''Aïda'', ) is an
opera Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a libr ...
in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni. Set in the
Old Kingdom of Egypt In ancient Egyptian history, the Old Kingdom is the period spanning c. 2700–2200 BC. It is also known as the "Age of the Pyramids" or the "Age of the Pyramid Builders", as it encompasses the reigns of the great pyramid-builders of the Fourt ...
, it was commissioned by
Cairo Cairo ( ; ar, القاهرة, al-Qāhirah, ) is the capital of Egypt and its largest city, home to 10 million people. It is also part of the largest urban agglomeration in Africa, the Arab world and the Middle East: The Greater Cairo metr ...
's Khedivial Opera House and had its première there on 24 December 1871, in a performance conducted by Giovanni Bottesini. Today the work holds a central place in the operatic canon, receiving performances every year around the world; at New York's Metropolitan Opera alone, ''Aida'' has been sung more than 1,100 times since 1886. Ghislanzoni's scheme follows a scenario often attributed to the French Egyptologist
Auguste Mariette François Auguste Ferdinand Mariette (11 February 182118 January 1881) was a French scholar, archaeologist and Egyptologist, and the founder of the Egyptian Department of Antiquities, the forerunner of the Supreme Council of Antiquities. Early ...
, but Verdi biographer
Mary Jane Phillips-Matz Mary Jane Phillips-Matz (January 30, 1926 – January 19, 2013) was an American biographer and writer on opera. She is mainly known for her biography of Giuseppe Verdi, a result of 30 years' research and published in 1992 by Oxford University Press ...
argues that the source is actually Temistocle Solera.


Elements of the opera's genesis and sources

Isma'il Pasha Isma'il Pasha ( ar, إسماعيل باشا ; 12 January 1830 – 2 March 1895), was the Khedive of Egypt and conqueror of Sudan from 1863 to 1879, when he was removed at the behest of Great Britain. Sharing the ambitious outlook of his grand ...
, Khedive of Egypt, commissioned Verdi to write an opera to celebrate the opening of the Suez Canal, but Verdi declined. However,
Auguste Mariette François Auguste Ferdinand Mariette (11 February 182118 January 1881) was a French scholar, archaeologist and Egyptologist, and the founder of the Egyptian Department of Antiquities, the forerunner of the Supreme Council of Antiquities. Early ...
, a French Egyptologist, proposed to Khedive Pasha a plot for a celebratory opera set in ancient Egypt. Khedive Pasha referred Mariette to theatre manager
Camille du Locle Camille du Locle (16 July 18329 October 1903) was a French theatre manager and a librettist. He was born in Orange, France. From 1862 he served as assistant to his father-in-law, Émile Perrin, at the Paris Opéra. From 1870, he was co-director ...
, who sent Mariette's story idea to Verdi. Eventually, Verdi agreed to compose an opera based on that story, for 150,000 francs. Because the scenery and costumes were stuck in the French capital during the Siege of Paris (1870–71) of the ongoing Franco-Prussian War, the premiere was delayed and Verdi's '' Rigoletto'' was performed instead. The first opera performed at the Khedivial Opera House, ''Aida'' eventually premiered in Cairo on Christmas Eve of 1871.


Performance history


Cairo premiere and initial success in Italy

Verdi originally chose to write a brief orchestral prelude instead of a full overture for the opera. He then composed an overture of the " potpourri" variety to replace the original prelude. However, in the end he decided not to have the overture performed because of its—his own words—"pretentious silliness". This overture, never used today, was given a rare broadcast performance by Arturo Toscanini and the NBC Symphony Orchestra on 30 March 1940, but was never commercially issued. ''Aida'' met with great acclaim when it finally opened in Cairo on 24 December 1871. The costumes and accessories for the première were designed by
Auguste Mariette François Auguste Ferdinand Mariette (11 February 182118 January 1881) was a French scholar, archaeologist and Egyptologist, and the founder of the Egyptian Department of Antiquities, the forerunner of the Supreme Council of Antiquities. Early ...
, who also oversaw the design and construction of the sets, which were made in Paris by the Opéra's scene painters Auguste-Alfred Rubé and Philippe Chaperon (acts 1 and 4) and Édouard Desplechin and Jean-Baptiste Lavastre (acts 2 and 3), and shipped to Cairo. Although Verdi did not attend the premiere in Cairo, he was most dissatisfied with the fact that the audience consisted of invited dignitaries, politicians and critics, but no members of the general public. He therefore considered the Italian (and European) première, held at La Scala,
Milan Milan ( , , Lombard: ; it, Milano ) is a city in northern Italy, capital of Lombardy, and the second-most populous city proper in Italy after Rome. The city proper has a population of about 1.4 million, while its metropolitan city ...
on 8 February 1872, and a performance in which he was heavily involved at every stage, to be its ''real'' première. Verdi had also written the role of Aida for the voice of Teresa Stolz, who sang it for the first time at the Milan première. Verdi had asked her fiancé, Angelo Mariani, to conduct the Cairo première, but he declined, so Giovanni Bottesini filled the gap. The Milan
Amneris ''Aida'' (or ''Aïda'', ) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni. Set in the Old Kingdom of Egypt, it was commissioned by Cairo's Khedivial Opera House and had its première there on 24 December 1 ...
, Maria Waldmann, was his favourite in the role and she repeated it a number of times at his request. ''Aida'' was received with great enthusiasm at its Milan première. The opera was soon mounted at major opera houses throughout Italy, including the Teatro Regio di Parma (20 April 1872), the Teatro di San Carlo (30 March 1873), La Fenice (11 June 1873), the Teatro Regio di Torino (26 December 1874), the
Teatro Comunale di Bologna The Teatro Comunale di Bologna is an opera house in Bologna, Italy. Typically, it presents eight operas with six performances during its November to April season. While there had been various theatres presenting opera in Bologna since the early ...
(30 September 1877, with Giuseppina Pasqua as Amneris and Franco Novara as the King), and the Teatro Costanzi (8 October 1881, with
Theresia Singer Theresia Singer (also known as Teresa Singer) was an operatic soprano. Singer trained in Vienna and in Italy. During the 1870–1871 season, she sang in the Court Opera of Vienna, before travelling to Italy. In 1873 she debuted at Milan's L ...
as Aida and Giulia Novelli as Amneris) among others.


Other 19th-century performances

Details of important national and other premières of ''Aida'' follow: * Argentina: 4 October 1873, at the original Teatro Colón, Buenos Aires, located at Rivadavia and Reconquista, then replaced by the headquarters of the Bank of the Argentine Nation. * United States: 26 November 1873, Academy of Music in New York City, with Ostava Torriani in the title role, Annie Louise Cary as Amneris, Italo Campanini as Radamès, Victor Maurel as Amonasro, and Evasio Scolara as the King * Germany: 20 April 1874,
Berlin State Opera The (), also known as the Berlin State Opera (german: Staatsoper Berlin), is a listed building on Unter den Linden boulevard in the historic center of Berlin, Germany. The opera house was built by order of Prussian king Frederick the Great ...
, with Mathilde Mallinger as Aida, Albert Niemann as Radamès, and Franz Betz as Amonasro * Austria: 29 April 1874, Vienna State Opera, with
Amalie Materna Amalie Materna (born Amalia, later Amalie Friedrich-Materna) (10 July 1844 St. Georgen in der Steiermark – 18 January 1918 Vienna) was an Austrian operatic soprano. While possessing a famously powerful voice, Materna also maintained a youthful ...
as Amneris * Hungary: 10 April 1875, Hungarian State Opera House, Budapest * France: 22 April 1876, Théâtre-Lyrique Italien, Salle Ventadour, Paris, with almost the same cast as the Milan premiere, but with
Édouard de Reszke Édouard de Reszke (22 December 185325 May 1917) was a Polish bass from Warsaw. A member of the musical Reszke family, he was a successful opera singer, as were his brother Jean and his sister Josephine. He made his debut in ''Aida'' in Paris on ...
making his debut as the King. This performance was conducted by Verdi. * United Kingdom: 22 June 1876,
Royal Opera House The Royal Opera House (ROH) is an opera house and major performing arts venue in Covent Garden, central London. The large building is often referred to as simply Covent Garden, after a previous use of the site. It is the home of The Royal ...
, Covent Garden, with
Adelina Patti Adelina Patti (19 February 184327 September 1919) was an Italian 19th-century opera singer, earning huge fees at the height of her career in the music capitals of Europe and America. She first sang in public as a child in 1851, and gave her l ...
as Aida,
Ernesto Nicolini Ernesto Nicolini (23 February 1834 – 19 January 1898) was a French operatic tenor, particularly associated with the French and Italian repertories. Born Ernest Nicolas in Saint Malo, France, he studied at the Paris Conservatory and made his de ...
as Radamès, and Francesco Graziani as Amonasro * Australia: 6 September 1877, Royal Theatre, Melbourne * Munich: 1877, Bavarian State Opera, with Josephine Schefsky as Amneris * Stockholm: 16 February 1880, Royal Swedish Opera in Swedish, with
Selma Ek Selma Ek (3 September 1856 – 3 May 1941) was a Swedish operatic soprano who had an active international career from the 1870s through the 1890s. Like Lilli Lehmann and Lillian Nordica, she was one of those universally talented singers of the lat ...
in the title roleEk Biography at operissimo.com (in German)
* Palais Garnier, Paris: 22 March 1880, sung in French, with Gabrielle Krauss as Aida,
Rosine Bloch Rosine Bloch (7 November 1844 – 1 February 1891)Pierre 1900p. 701 "née à Paris, 7 nov. 1844", "† Monte Carlo (Nice?), 1 fév. 1891". Other sources differ with regard to her dates and places of birth and death. Walsh 1981, p. 374: "(1832? 1 ...
as Amnéris, Henri Sellier as Radamès, Victor Maurel as Amonasro, Georges-François Menu as the King, and Auguste Boudouresque as Ramphis. *
Metropolitan Opera The Metropolitan Opera (commonly known as the Met) is an American opera company based in New York City, resident at the Metropolitan Opera House at Lincoln Center, currently situated on the Upper West Side of Manhattan. The company is opera ...
, New York: 12 November 1886, conducted by Anton Seidl, with Therese Herbert-Förster (the wife of Victor Herbert) in the title role, Carl Zobel as Radamès,
Marianne Brandt Marianne Brandt (1 October 1893 – 18 June 1983) was a German painter, sculptor, photographer, metalsmith, and designer who studied at the Bauhaus art school in Weimar and later became head of the Bauhaus ''Metall-Werkstatt'' (Metal Workshop ...
as Amneris, Adolf Robinson as Amonasro, Emil Fischer as Ramfis, and as the King. * Rio de Janeiro: 30 June 1886, Theatro Lyrico Fluminense. During rehearsals, the performers of the Italian touring opera company had disagreements with the local conductor Leopoldo Miguez, described as "inept". After the failure of two replacement conductors, Arturo Toscanini, at the time a 19-year-old cellist who was assistant chorus master, was persuaded conduct the performance. He conducted the entire opera from memory with great success—the start of a great career.


20th century and beyond

A complete concert version of the opera was given in New York City in 1949. Conducted by Toscanini with
Herva Nelli Herva Nelli (January 9, 1909May 31, 1994) was an Italian-American operatic soprano. Biography Named after the French socialist Gustave Hervé, she was born in Florence, where she attended a convent school. At the age of ten, however, she and h ...
as Aida and Richard Tucker as Radamès, it was televised on the NBC television network. Due to the length of the opera, it was divided into two telecasts, preserved on
kinescope Kinescope , shortened to kine , also known as telerecording in Britain, is a recording of a television program on motion picture film, directly through a lens focused on the screen of a video monitor. The process was pioneered during the 194 ...
s, and later released on video by RCA and Testament. The audio portion of the broadcast, including some remakes in June 1954, was released on LP and CD by RCA Victor. Other notable performances from this period include a 1955 performance conducted by Tullio Serafin with Maria Callas as Aida and Richard Tucker as Radamès and a 1959 performance conducted by Herbert von Karajan with Renata Tebaldi as Aida and Carlo Bergonzi as Radamès. La Scala mounted a lavish new production of ''Aida'' designed by
Franco Zeffirelli Gian Franco Corsi Zeffirelli (12 February 1923 – 15 June 2019), was an Italian stage and film director, producer, production designer and politician. He was one of the most significant opera and theatre directors of the post-World War II era, ...
for the opening night of its 2006/2007 season. The production starred Violeta Urmana in the title role and Roberto Alagna as Radamès. Alagna subsequently made the headlines when he was booed for his rendition of "Celeste Aida" during the second performance, walked off the stage, and was dismissed from the remainder of the run. The production continued to cause controversy in 2014 when Zeffirelli protested La Scala's rental of the production to the Astana Opera House in Kazakhstan without his permission. According to Zeffirelli, the move had doomed his production to an "infamous and brutal" fate. ''Aida'' continues to be a staple of the standard operatic repertoire. It is frequently performed in the Verona Arena, and is a staple of its renowned opera festival.


Roles


Instrumentation

3 flutes (3rd also
piccolo The piccolo ( ; Italian for 'small') is a half-size flute and a member of the woodwind family of musical instruments. Sometimes referred to as a "baby flute" the modern piccolo has similar fingerings as the standard transverse flute, but the s ...
), 2
oboe The oboe ( ) is a type of double reed woodwind instrument. Oboes are usually made of wood, but may also be made of synthetic materials, such as plastic, resin, or hybrid composites. The most common oboe plays in the treble or soprano range. ...
s, English horn, 2
clarinet The clarinet is a musical instrument in the woodwind family. The instrument has a nearly cylindrical bore and a flared bell, and uses a single reed to produce sound. Clarinets comprise a family of instruments of differing sizes and pitch ...
s, bass clarinet, 2 bassoons, 4 horns, 2
trumpet The trumpet is a brass instrument commonly used in classical and jazz ensembles. The trumpet group ranges from the piccolo trumpet—with the highest register in the brass family—to the bass trumpet, pitched one octave below the standard ...
s, 3 trombones,
cimbasso The cimbasso is a low brass instrument that developed from the upright serpent over the course of the 19th century in Italian opera orchestras, to cover the same range as a tuba or contrabass trombone. The modern instrument has four to six rotar ...
, timpani,
triangle A triangle is a polygon with three edges and three vertices. It is one of the basic shapes in geometry. A triangle with vertices ''A'', ''B'', and ''C'' is denoted \triangle ABC. In Euclidean geometry, any three points, when non- colline ...
, bass drum, cymbals, tam-tam, harp, strings; on-stage
banda Banda may refer to: People * Banda (surname) * Banda Prakash (born 1954), Indian politician * Banda Kanakalingeshwara Rao (1907–1968), Indian actor * Banda Karthika Reddy (born 1977), Indian politician *Banda Singh Bahadur (1670–1716), Sikh ...
: 6 Egyptian trumpets ("Aida trumpets"), military band, harp


Setting

The libretto does not specify a precise time period, so it is difficult to place the opera more specifically than the
Old Kingdom In ancient Egyptian history, the Old Kingdom is the period spanning c. 2700–2200 BC. It is also known as the "Age of the Pyramids" or the "Age of the Pyramid Builders", as it encompasses the reigns of the great pyramid-builders of the Fourth ...
. For the first production, Mariette went to great efforts to make the sets and costumes authentic. Considering the consistent artistic styles throughout the 3000-year history of ancient Egypt, a given production does not particularly need to choose a specific time period within the larger frame of ancient Egyptian history.


Synopsis

Backstory: The Egyptians have captured and enslaved Aida, an
Ethiopia Ethiopia, , om, Itiyoophiyaa, so, Itoobiya, ti, ኢትዮጵያ, Ítiyop'iya, aa, Itiyoppiya officially the Federal Democratic Republic of Ethiopia, is a landlocked country in the Horn of Africa. It shares borders with Eritrea to the ...
n princess. An Egyptian military commander, Radamès, struggles to choose between his love for her and his loyalty to the King of Egypt. To complicate the story further, the King's daughter Amneris is in love with Radamès, although he does not return her feelings.


Act 1

''Scene 1: A hall in the King's palace; through the rear gate the pyramids and temples of Memphis are visible'' Ramfis, the high priest of Egypt, tells Radamès, the young warrior, that war with the Ethiopians seems inevitable, and Radamès hopes that he will be chosen as the Egyptian commander (Ramfis, Radamès: "Sì, corre voce l'Etiope ardisca" / Yes, it is rumored that Ethiopia dares once again to threaten our power). Radamès dreams both of gaining victory on the battlefield and of Aida, an Ethiopian slave, with whom he is secretly in love (Radamès: " Se quel guerrier io fossi! ... Celeste Aida" / Heavenly Aida). Aida, who is also secretly in love with Radamès, is the captured daughter of the Ethiopian King Amonasro, but her Egyptian captors are unaware of her true identity. Her father has invaded Egypt to deliver her from servitude. Amneris, the daughter of the Egyptian King, enters the hall. She too loves Radamès, but fears that his heart belongs to someone else (Radamès, Amneris: "Quale insolita gioia nel tuo sguardo" / In your looks I trace an unwonted joy). Aida appears and, when Radamès sees her, Amneris notices that he looks disturbed. She suspects that Aida could be her rival, but is able to hide her jealousy and approach Aida (Amneris, Aida, Radamès: "Vieni, o diletta, appressati" / Come, O delight, come closer). The King enters, along with the High Priest, Ramfis, and the whole palace court. A messenger announces that the Ethiopians, led by King Amonasro, are marching towards Thebes. The King declares war and proclaims that Radamès is the man chosen by the goddess
Isis Isis (; ''Ēse''; ; Meroitic: ''Wos'' 'a''or ''Wusa''; Phoenician: 𐤀𐤎, romanized: ʾs) was a major goddess in ancient Egyptian religion whose worship spread throughout the Greco-Roman world. Isis was first mentioned in the Old Kin ...
to be the leader of the army (The King, Messenger, Radamès, Aida, Amneris, Ramfis, chorus: "Alta cagion v'aduna .. Guerra, guerra, guerra!" / Oh fate o'er Egypt looming .. War, war, war!). Upon receiving this mandate from the King, Radamès proceeds to the temple of Vulcan to take up the sacred arms (The King, Radamès, Aida, Amneris, chorus: "Su! del Nilo al sacro lido" .. (reprise) "Guerra, guerra guerra!" / On! Of Nilus' sacred river, guard the shores .. (reprise) War, war, war!). Alone in the hall, Aida feels torn between her love for her father, her country, and Radamès (Aida: "Ritorna vincitor!" / Return a conqueror!). ''Scene 2: Inside the Temple of Ptah'' Solemn ceremonies and dances by the priestesses take place (High Priestess, chorus, Radamès: "Possente Ftha ... Tu che dal nulla" / O mighty Ptah). This is followed by the installation of Radamès to the office of commander-in-chief (High Priestess, chorus, Ramfis, Radamès: "Immenso Ftha .. Mortal, diletto ai Numi" / O mighty one, guard and protect!). All present in the temple pray fervently for the victory of Egypt and protection for their warriors ("Nume, custode e vindice"/ Hear us, O guardian deity).


Act 2

''Scene 1: The chamber of Amneris'' Dances and music to celebrate Radamès' victory take place (Chorus, Amneris: "Chi mai fra gli inni e i plausi" / Our songs his glory praising). However, Amneris is still in doubt about Radamès' love and wonders whether Aida is in love with him. She tries to forget her doubt, entertaining her worried heart with the dance of Moorish slaves (Chorus, Amneris: "Vieni: sul crin ti piovano" / Come bind your flowing tresses). When Aida enters the chamber, Amneris asks everyone to leave. By falsely telling Aida that Radamès has died in the battle, she tricks her into professing her love for him. In grief, and shocked by the news, Aida confesses that her heart belongs to Radamès eternally (Amneris, Aida: "Fu la sorte dell'armi a' tuoi funesta" / The battle's outcome was cruel for your people). This confession fires Amneris with rage, and she plans on taking revenge on Aida. Ignoring Aida's pleadings (Amneris, Aida, chorus: "Su! del Nilo al sacro lido" / Up! at the sacred shores of the Nile), Amneris leaves her alone in the chamber. ''Scene 2: The grand gate of the city of Thebes'' Radamès returns victorious and the troops march into the city (Chorus, Ramfis: "Gloria all'Egitto, ad Iside" / Glory to Egypt, ndto Isis!). The Egyptian king decrees that on this day the triumphant Radamès may have anything he wishes. The Ethiopian captives are led onstage in chains, Amonasro among them. Aida immediately rushes to her father, who whispers to her to conceal his true identity as King of Ethiopia from the Egyptians. Amonasro deceptively proclaims to the Egyptians that the Ethiopian king (referring to himself) has been slain in battle. Aida, Amonasro, and the captured Ethiopians plead with the Egyptian King for mercy, but Ramfis and the Egyptian priests call for their death (Aida, Amneris, Radamès, The King, Amonasro, chorus: "Che veggo! .. Egli? .. Mio padre! .. Anch'io pugnai .. Struggi, o Re, queste ciurme feroci" / What do I see?.. Is it he? My father? .. Destroy, O King, these ferocious creatures). Claiming the reward promised by the King of Egypt, Radamès pleads with him to spare the lives of the prisoners and to set them free. The King grants Radamès' wish, and declares that he (Radamès) will be his (the King's) successor and will marry the King's daughter (Amneris). (Aida, Amneris, Radamès, Ramfis, The King, Amonasro, chorus: "O Re: pei sacri Numi! .. Gloria all'Egitto" / O King, by the sacred gods ... Glory to Egypt!). At Ramfis' suggestion to the King, Aida and Amonasro remain as hostages to ensure that the Ethiopians do not avenge their defeat.


Act 3

''On the banks of the Nile, near the Temple of Isis'' Prayers are said (Chorus, High Priestess, Ramfis, Amneris: "O tu che sei d'Osiride" / O thou who to Osiris art) on the eve of Amneris and Radamès' wedding in the Temple of Isis. Outside, Aida waits to meet with Radamès as they had planned (Aida: "Qui Radamès verra .. O patria mia" / Oh, my dear country!). Amonasro appears and orders Aida to find out the location of the Egyptian army from Radamès. Aida, torn between her love for Radamès and her loyalty to her native land and to her father, reluctantly agrees. (Aida, Amonasro: "Ciel, mio padre! .. Rivedrai le foreste imbalsamate" / Once again shalt thou gaze). When Radamès arrives, Amonasro hides behind a rock and listens to their conversation. Radamès affirms that he will marry Aida ("Pur ti riveggo, mia dolce Aida .. Nel fiero anelito"; "Fuggiam gli ardori inospiti .. Là, tra foreste vergini" / I see you again, my sweet Aida!), and Aida convinces him to flee to the desert with her. In order to make their escape easier, Radamès proposes that they use a safe route without any fear of discovery and reveals the location where his army has chosen to attack. Upon hearing this, Amonasro comes out of hiding and reveals his identity. Radamès realizes, to his extreme dismay, that he has unwittingly revealed a crucial military secret to the enemy. At the same time, Amneris and Ramfis leave the temple and, seeing Radamès in conference with the enemy, call for the imperial guards. Amonasro draws a dagger, intending to kill Amneris and Ramfis before the guards can hear them, but Radamès disarms him, quickly orders him to flee with Aida, and surrenders himself to the imperial guards as Aida and Amonasro run off. The guards arrest him as a traitor.


Act 4

''Scene 1: A hall in the Temple of Justice. To one side is the door leading to Radamès' prison cell'' Amneris desires to save Radamès ("L'aborrita rivale a me sfuggia" / My hated rival has escaped me). She calls for the guard to bring him to her. She asks Radamès to deny the accusations, but Radamès, who does not wish to live without Aida, refuses. He is relieved to know Aida is still alive and hopes she has reached her own country (Amneris, Radamès: "Già i Sacerdoti adunansi" / Already the priests are assembling). Offstage, Ramfis recites the charges against Radamès and calls on him to defend himself, but he stands mute, and is condemned to death as a traitor. Amneris, who remains onstage, protests that Radamès is innocent, and pleads with the priests to show mercy. The priests sentence him to be buried alive; Amneris weeps and curses the priests as he is taken away (Judgment scene, Amneris, Ramfis, and chorus: "Ahimè! .. morir mi sento .. Radamès, è deciso il tuo fato" / Alas .. I feel death .. Radamès, your fate is decided). ''Scene 2: The lower portion of the stage shows the vault in the Temple of Ptah; the upper portion represents the temple itself'' Radamès has been taken into the lower floor of the temple and sealed up in a dark vault, where he thinks that he is alone. As he hopes that Aida is in a safer place, he hears a sigh and then sees Aida. She has hidden herself in the vault in order to die with Radamès (Radamès: "La fatal pietra sovra me si chiuse" / The fatal stone now closes over me). They accept their terrible fate (Radamès: "Morir! Sì pura e bella" / To die! So pure and lovely!) and bid farewell to Earth and its sorrows (duet "Invan! Tutto e finito ... O terra addio").The original draft included a speech by Aida (excised from the final version) that explained her presence beneath the Temple: "My heart knew your sentence. For three days I have waited here." The line most familiar to audiences translates as: "My heart forewarned me of your condemnation. In this tomb that was opened for you I entered secretly. Here, away from human sight, in your arms I wish to die." Above the vault in the temple of Ptah, Amneris weeps and prays to the goddess Isis. In the vault below, Aida dies in Radamès' arms as the priests, offstage, pray to the god Ptah. (Chorus, Aida, Radamès, Amneris: "Immenso Ftha" / Almighty Ptah).


Adaptations

The opera has been adapted for motion pictures on several occasions, most notably in a 1953 production which starred Lois Maxwell as Amneris and
Sophia Loren Sofia Costanza Brigida Villani Scicolone (; born 20 September 1934), known professionally as Sophia Loren ( , ), is an Italian actress. She was named by the American Film Institute as one of the greatest female stars of Classical Hollywood ci ...
as Aida, and a 1987 Swedish production. In both cases, the lead actors lip-synched to recordings by actual opera singers. In the case of the 1953 film,
Ebe Stignani Ebe Stignani (10 July 1903 – 5 October 1974) was an Italian opera singer, who was pre-eminent in the dramatic mezzo-soprano roles of the Italian repertoire during a stage career of more than thirty years. Career Born in Naples in 1903 (some so ...
sang as Amneris, while Renata Tebaldi sang as Aida. The opera's story, but not its music, was used as the basis for a 1998 musical of the same name written by Elton John and Tim Rice. The opera has been portrayed in the 2001 Italian animated film '' Aida of the Trees'' (''Aida degli alberi''). The characters are seen as anthropomorphic creatures between the fictional kingdoms of Alborea and Petra as the star-crossed lovers must find a way to unify their worlds together while facing off against the evil high priest Ramfis.


Recordings


References


Sources

* * (hardcover); (paperback). * * * * * * * * * * * * Paris: Slatkine (1983 reprint) .


Further reading

* De Van, Gilles (trans. Gilda Roberts) (1998). ''Verdi's Theater: Creating Drama Through Music''. Chicago & London: University of Chicago Press. (hardback), (paperback) * Forment, Bruno (2015). "Staging Verdi in the Provinces: The ''Aida'' Scenery of Albert Dubosq", in ''Staging Verdi and Wagner'', ed. Naomi Matsumoto (pp. 263–286). Turnhout: Brepols. * Gossett, Philip (2006). ''Divas and Scholars: Performing Italian Opera''. Chicago: University of Chicago Press.
"''Aida''"
in '' The Oxford Dictionary of Music'', (ed.) Michael Kennedy. 2nd ed. rev., (Accessed 19 September 2010) * Martin, George Whitney (1963).'' Verdi: His Music, Life and Times.'' New York: Dodd, Mead and Company. * , translated by Richard Salinger (1921).
The Opera Goer's Complete Guide
', pp. 7–9. Dodd, Mead and Company. (Source of synopsis with updating to its language) * Osborne, Charles (1969). ''The Complete Operas of Verdi'', New York: Da Capo Press, Inc. * Parker, Roger (1998). "''Aida''", in
Stanley Sadie Stanley John Sadie (; 30 October 1930 – 21 March 2005) was an influential and prolific British musicologist, music critic, and editor. He was editor of the sixth edition of the '' Grove Dictionary of Music and Musicians'' (1980), which was pub ...
(ed.), '' The New Grove Dictionary of Opera'', vol. 1. London: Macmillan, 1998 * Parker, Roger (2007). ''The New Grove Guide to Verdi and His Operas'', Oxford & New York: Oxford University Press. * Pistone, Danièle (1995). ''Nineteenth-Century Italian Opera: From Rossini to Puccini'', Portland, Oregon: Amadeus Press. * Rous, Samual Holland (1924). ''The Victrola Book of the Opera: Stories of One Hundred and Twenty Operas with Seven-Hundred Illustrations and Descriptions of Twelve-Hundred Victor Opera Records''. Victor Talking Machine Co. * * Toye, Francis (1931). ''Giuseppe Verdi: His Life and Works'', New York: Knopf. * Walker, Frank (1982). ''The Man Verdi.'' New York: Knopf, 1962, Chicago: University of Chicago Press. * * Warrack, John and West, Ewan (1992). ''The Oxford Dictionary of Opera'' New York: Oxford University Press. * Werfel, Franz and Stefan, Paul (1973). ''Verdi: The Man and His Letters'', New York, Vienna House.


External links

*
Aïda : an opera in four acts
1900 publication, English, digitized by BYU on archive.org
Opera Guide
Synopsis – libretto – highlights

Naxos Records
Complete libretto of the opera

Piano reduction
William and Gayle Cook Music Library The William and Gayle Cook Music Library, recognized as one of the largest academic music libraries in the world, serves the Jacobs School of Music and the Bloomington Campus of Indiana University. It occupies a four-floor, 55,000 square-foot facili ...
, Indiana University School of Music
Aria Database list of arias

Further ''Aida'' discography

Libretto in Italian and English
Online Library of Liberty
Synopsis, commentary, music analysis, anecdotes
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